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OP ART IN FOCUS  TATE Liverpool

  OP Art is a development, which uses bold contrasting colour, lines and geometric shapes to dazzle the eye. It’s kind of experiment with perception to create effects ranging from the subtle to the disturbing and disorientating.

  Jim Lambie’s dazzling floor-based installation Zobop 1999 aims to evoke rhythms and energy in art similar to those found in music.

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A digital collage, including found footage of Birmingham's desolated areas combined with pictures from Tate Liverpool gallery. With those, I'm trying to convey the idea of a ghost World, lacking human presence and to pose the question: Do we really want it to happen, neglecting the possible consequences of our actions?

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“My future will reflect a new world”

Cast iron

A piece of art, inspired by William Morris’s patterns and his idea that the end of the World as we know it also would presents a new beginning.

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El Fin Del Mundo (The End of the World)

   Moon and Jeon’s film represents the World of contemporary art before and after the apocalypse. The action plays out on separate screens, which display different points in time: on one, a man is dedicated to creating art, even as global catastrophe looms. Alongside this, a woman, part of the New World, who investigates objects that we take for granted, as some kind of relics.Demonstrating art’s ability to enrich people’s lives, this encounter triggers profound new emotions in the woman. It seems like a connection between two worlds across time which brings the future protagonist a feeling of nostalgia. At the end of the film, she says "My future will reflect a new World", and here we can see Morris's idea of that new utopian World born from the ashes of the old one.

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“News from Nowhere” by Moon Kyungwon and Jeon Joonho   TATE Liverpool

   “News from Nowhere” was initiated by South Korean artists Moon Kyungwon and Jeon Joonho, to explore the social function and role of Art. Inspired by William Morris’s book of utopian future, the artists envision a future that reflects on our present and speculates on the possible changes that await us. With this exhibition they pose many questions, hoping to encourage conversation about how we might exist differently. “News from Nowhere” includes several works: -”El Fin del Mundo” (The End of the World) which is a two-screen projection that highlights the role of art in society through the depiction of an apocalypse and its aftermath, “Anomaly Strolls, comprising a film and sculptures made of recycled metal, reflecting on the impact of our history and present-day events on the future and emblazoned with the line “My future will reflect a new World” manhole cover.

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   “Yes, surely! And if others can see it as I have seen it, then it may be called a vision rather than a dream.” - William Morris, ”News From Nowhere” 1890

   William Morris (1834 - 1896) became one of the most significant figures in the arts and crafts movement, a man of far ranging creativity and knowledge, also known as an author and social activist . He championed a principle of handmade production that didn't chime with the Victorian era's focus on industrial 'progress'.

   Towards the end of his career, Morris began to focus increasingly on his writing, publishing a number of prose narratives, including his most celebrated: News from Nowhere (1890). Infused with his socialist ideas and romantic utopianism, this book offers Morris's vision of a simple world in which art or 'work-pleasure' is demanded of and enjoyed by all. He dreams of a World with gender equality, learning for pleasure instead of learning because you have to, a World with no formalised system and government.

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Storytelling, Reality, and Documentary Fiction

   When we are talking about documentary, we often come across questions such as: Can we define the documentary? Is it a photograph? A film? A drawing? Is it a physical artefact? Is it something that happened? Something thats real? How do we know what is real?

   Well, there is no viable definition of ’documentary’ as Hito Steyerl notes but whatever it is, real or unreal, the documentary could be seen as a tool through which to examine, critique and speculate or as a tool to deceive as Adam Curtis poins out in his video “ Oh Dear “ .

https://www.youtube.com/watch?v=wcy8uLjRHPM

    “The perpetual doubt, the nagging insecurity –whether what we see is ’true’, ’real’, ’factual’ and so on– accompanies contemporary documentary reception like a shadow. Let me suggest that this uncertainty is not some shameful lack, which has to be hidden, but instead constitutes the core quality of contemporary documentary modes as such. The questions which they invariably trigger, the disavowed anxieties hidden behind apparent certainties, differ substantially from those associated with fictional modes. The only thing we can say for sure about the documentary mode in our times is that we always already doubt if it is true. “ - Hito Steyerl

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Laura Oldfield implements both Psychogeography and Documentary fiction in her works, focused on the urban British area. She is modifying photographs of urban landscapes, architecture and memory using acrylic paint and spray paint, through which she investigates  into the sociogeography of the suburbs, specifically within the old boundaries of the county of Surrey, examining marginal political and counter-cultural groups in an attempt to ascertain the affects of landscape on the collective psyche. She is the author of Savage Messiah, described as “a wake-up call to anyone who can only see modern cities through the lens of gentrification.”

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Fiction films & Documentary Fiction

For Jacques Rancière, documentary and fiction are not opposed, but this does not mean that documentary films are no different from films normally termed fiction. Rather, documentary can be seen as a type of fiction film that, by taking the real as a point of contestation rather than an effect to be produced, opens up new possibilities for fictional invention. Rancière reframes questions of documentary cinema in relation to political equality in a way that challenges dominant conceptions of the difference between documentary and fiction film within the history of film studies.

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Metahaven: Hometown

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“It’s not just about describing what we analyse, but finding ways to internalise what we observe, and create films with that”

Vinca Kruk

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Photographer Ioana Cirlig’s Post-Industrial Stories looks at Romanian life after work.

A former photojournalist, Ioana eventually found herself gravitating towards working on a documentary aesthetic with a firm focus on what she describes as “long-term storytelling”. She documents rotting relics of a working world that’s long since been consigned to the dustbin of industrial history. The project is an attempt to chart the new territories that come into being when mono-industrial towns and villages find themselves robbed of the sole income source.

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    In her use of mapping as a tool for documentation, Canadian/French artist Larissa Fassler deals not just with the geography of space but also it’s ethnography. Fassler traces by hand all that she sees, superimposing these temporal notations onto paper maps complete with axonometric drawings of the architecture found there.

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Olafur Eliasson: The Weather Project, 2003

    “A homage to man’s ability – and desire – to imitate nature, and an allusion to global warming. The illusory sun shine through mist in Tate Modern’s Turbine Hall awed and terrified in equal measures.”

I found someone called Lova Yu, who is describing Eliasson’s works in a way that brings together the idea of Psychogeography. She says the following: “ Why? I could’t stop asking myself at the exhibition, why I (and so many people) spent at least an hour on cars —it was a quite remote museum, to come here, to experience this kind of, what he called “Reality”. When we can see the real rain, the real sunset, is this kind of imitation “reality” of the nature, somehow touches us more than the real “reality”?”

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Psychogeography

   Psychogeography was defined in 1955 by Guy Debord as “the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals”. It’s a complex topic that has developed quite a following in contemporary art.

   ‘The art of wandering’ is a book written by Merlin Coverly and for me the best description of the term ‘Psychogeography’. The concept more or less emerges in the 1950’s in France, with visionaries out to “reimagine” the urban environment. Coverly takes the reader through the ‘processes’ involved in this approach to changing our perspective on the world around us, for instance wandering around in a well-known area instead of driving back home, and paying attention to everything that surrounds us instead of disregarding it and taking it for granted. Observing things from a more personal angle, can make us see everything in a different light, and that is sort of what psychogeography is all about.

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Yellow Slip by Gary Hume

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Sammy Slabbinck collage